Give to BEMF

  About Us


« Back to Press Releases

Press Release


MEDIA ALERT: BEMF presents renowned harpsichord duo Ton Koopman and Tini Mathot in a program of dynamic music for four hands and two keyboards—Friday, March 11 in Harvard Square, and Sunday, March 13 in New York City

(Download as a PDF)

ARTIST: Ton Koopman, harpsichord
Tini Mathot,
WHEN: Friday, March 11, 2016 at 8pm
First Church in Cambridge, Congregational, 11 Garden Street, Cambridge, MA

Sunday, March 13, 2016 at 4pm
Gilder Lehrman Hall at The Morgan Library & Museum, 225 Madison Avenue, New York, NY
PROGRAM:  Four Hands and Two Keyboards: Duets and Solos by Bach, Mozart, Couperin, Soler, and Others
François Couperin: Sonata L’Impériale in D minor
François Couperin: Chaconne in D major
Bruna: Tiento sobre la letanía de la Virgen in G minor
Mozart: Fugue in C minor, KV 426
Mozart: Sonata in D major, KV 381
D’Anglebert: Deuxième Suite (G minor)
Soler: Concerto in D major
J.S. Bach: 5 Contrapuncti from The Art of Fugue, BWV 1080
Louis Couperin: Chaconne in C major
J.S. Bach: Preludium and Fuga in C major, BWV 547
TICKETS: Tickets for the Cambridge performance are priced at $20, $39, $51, and $70 each, and can be purchased at and 617-661-1812; a $5 discount for students, seniors, and groups is available by calling 617-661-1812.

Tickets for the New York City performance are priced at $35 for Morgan members and $45 for non members and can be purchased at and 212-685-0008, ext. 560.

The renowned harpsichord duo of Ton Koopman and Tini Mathot make a rare visit to the United States with a magnificent recital featuring dynamic music for four hands and two keyboards. In great demand around the world as a conductor and as director of the Amsterdam Baroque Orchestra and Choir, Koopman’s work as a soloist is equally impressive and wide-ranging. Mathot’s own storied career boasts award-winning recordings and projects with the finest players in Early Music.

The works present a range of styles from the lush French chaconne to the cosmopolitan Spanish concerto, some originally for keyboards, with others adapted by the performers. François Couperin's Sonata L’Imperiale claims to explore the musical nationality of the Holy Roman Empire, although the sound is suspiciously Corellian. Mozart's Sonata in D major, KV 381, written when the composer was only 16, is a Classically modern Italian symphony, with the orchestral textures clearly laid out for the keyboards. In stark contrast, his Fugue in C minor exhibits obsessive and archaic counterpoint. The pinnacle of Baroque counterpoint, Bach's The Art of Fugue leaves open the question of what instruments it was intended for. While much of it lies within the grasp of a single keyboard and one pair of hands, in this selection of five contrapuncti, Koopman contends that dividing the parts between four hands clarifies the texture. This extraordinary repertoire demands the close collaboration of two players of the highest caliber, and as husband and wife and long-time musical partners Koopman and Mathot deliver sheer beauty and unparalleled artistry.

As organist and harpsichordist, Ton Koopman has appeared in the most prestigious concert halls of the world and played the most beautiful historical instruments of Europe. In 1979 he founded the Amsterdam Baroque Orchestra (ABO), which soon gained worldwide fame as one of the best ensembles on period instruments. Among his most ambitious projects has been the recording of the complete Bach cantatas, a massive undertaking for which he has been awarded the ECHO Klassik, the BBC Award, the Hector Berlioz Prize, and has been nominated for the GRAMMY Award and the Gramophone Award. Mr. Koopman has a very wide repertoire: as harpsichordist and organist he has performed music from the Renaissance to the Classical period, with the ABO he has explored intensely the Baroque and Classical period, and as a conductor with modern orchestras he also approaches the early Romantics. Mr. Koopman is Professor at the University of Leiden, Honorary Member of the Royal Academy of Music in London, and artistic director of the Festival Itinéraire Baroque.

Tini Mathot was born in Amsterdam, where she studied piano and harpsichord at the Sweelinck Conservatory. She works in tight collaboration with her husband (and former teacher) Ton Koopman, with whom she regularly performs in concert halls all over the world. Their repertoire for two keyboards ranges from well-known to rediscovered unknown works. Ms. Mathot plays regularly as a soloist, continuo player and accompanist, and is a founding member of the Corelli Ensemble. On her most recent CD she plays both organ and harpsichord, performing J.S. Bach’s trio sonatas together with Reine-Marie Verhagen (recorder). Her recording of Haydn trios with Jaap ter Linden and Andrew Manze was awarded a Diapason d’Or. Tini Mathot is professor of harpsichord at the Royal Conservatory of The Hague.

Download artist photos:

Recognized as the preeminent early music presenter and Baroque opera producer in North America, the Boston Early Music Festival (BEMF) has been credited with securing Boston's reputation as "America's early music capital" (The Boston Globe). Founded in 1981, BEMF offers diverse programs and activities, including one GRAMMY Award-winning and four GRAMMY Award-nominated opera recordings, an annual concert series that brings early music's brightest stars to the Boston and New York concert stages, and a biennial week-long Festival and Exhibition recognized as the "world's leading festival of early music" (The Times, London). The 19th Boston Early Music Festival will take place from June 11-18, 2017, and will feature fully staged performances of André Campra's Le Carnaval de Venise as the Centerpiece Opera. BEMF's Artistic Leadership includes Artistic Directors Paul O'Dette and Stephen Stubbs, Opera Director Gilbert Blin, and Orchestra Director Robert Mealy.

The 2015-2016 Boston Early Music Festival Concert Series is presented with support from the Massachusetts Cultural Council, National Endowment for the Arts, ConstellationCenter, WGBH Radio Boston, Harpsichord Clearing House, Zuckermann Harpsichords International, and The Gregory E. Bulger Foundation.

The Morgan Library & Museum began as the private library of financier Pierpont Morgan, one of the preeminent collectors and cultural benefactors in the United States. Today, more than a century after its founding, The Morgan serves as a museum, independent research library, musical venue, architectural landmark, and historic site. Located at Madison Avenue and 36th Street, with world-renowned collections of drawings, literary and historical manuscripts, musical scores, medieval and Renaissance manuscripts, printed books, photography, and ancient Near Eastern seals and tablets. Gilder Lehrman Hall, designed by renowned architect Renzo Piano, was opened by the Morgan in May 2006, and seats 264 people, providing a uniquely intimate concert venue. This marks the Boston Early Music Festival’s 10th season of concerts at The Morgan Library & Museum.

For more information, images, press tickets, or to schedule an interview, please contact Kathleen Fay at 617-661-1812 or email